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Siena


 

Siena
Page 2

Sant'Agostino
SantĺAndrea Apostolo

Sant'Ansano Carceri
Sant'Antonio da Padova Oratory
Sant'Antonio da Padova Oratory
Sant'Elisabetta della Visitazione

Santa Caterina casa e santuario
Santa Caterina
Santa Caterina della Notte
Oratory see Santa Maria della Scala

Santa Lucia Santi Niccol˛ e Lucia

Santa Maria dei Servi
Santa Maria della Scala Ospedale
Santa Maria delle Nevi
Santa Maria in Portico a Fontegiusta
Santa Maria in Provenzano
Santa Maria Maddalena
(Castiglione d'Orcia)

Santa Marta
Santa Teresa

Santi Pietro e Paolo

Santi Quirico e Giulitta
Santi Vincenzo e Anastasio

Santissima Annunziata see  Santa Maria della Scala

Santo Spirito
Santo Stefano alla Lizza
Santuccio

 

Sant'Agostino


History
Augustinian, built in 1258. The order's relatively late foundation and need for large space for congregations, they being a preaching order, means their churches are usually found near, or just outside, the city walls.

Chapel in right transept added in 1487, with internal renovation by Luigi Vanvitelli in the 18th century and an entrance doorway designed by Agostino Fantastici in 1819. The church is now used for cultural events.

Interior

A large baroque and aisleless space, remodelled in 1749 by Gaspare Vanvitelli, with two pairs of altars either side, flanking the side door on one side and the door leading to the Capella Piccolomini on the other. The high altar has the shrine of the Blessed Agostino Novello, a local almost-saint who organised and worked to benefit the poor and infirm from the hermitage of San Leonardo.
There are some very ordinary 17th century altarpieces, but also a Crucifixion (completed in 1506) by Perugino over the second altar on right, the Chigi, which shows the crucified Christ with the Marys and Saints Monica, Jerome, John the Baptist and Augustine, all looking pretty languid and relaxed. By the side door is the altar of San Silvestro, which has a Baptism of Constantine (1586/7)  by Francesco Vanni which is impressive, if somewhat frantic.
The Capella Piccolomini in the quite large former chapter house of the convent, which was converted into a chapel in 1597 by Archbishop Ascanio Piccolomini, which is when the frescos by Ambrogio Lorenzetti mentioned below would have been whitewashed over. There is a crowded Adoration of the Magi from 1530 by Sodoma over the altar. The youth in profile to the left of Madonna is said to be a self-portrait.



The highlight lunette fresco opposite is a MaestÓ by Ambrogio Lorenzetti (see above) which was discovered during work  in 1943 when the Sodoma altarpiece was being moved for safety from bombing. Following the discovery the altar was repositioned into the opposite wall. The lunette fresco is all that remains of a seemingly-special cycle by Ambrogio, much admired by Ghiberti, devoted to the life of Saint Catherine of Alexandria. Long after the whitewashing mentioned above renovation in the 18th century largely destroyed the the frescoed walls. There have been many theories expounded to explain its odd selection of sometimes hard-to-identify saints. A recent, and quite convincing one, relates the painting to disputes amongst Augustinians at the time of its painting. A meeting of the Order's Chapter was convened in this very chapel in 1338. It does contain arguably the most shocked-looking Baby in trecento art, as various female saints present him with the bodily parts removed during their martyrdoms. Recent restoration has identified a layer underneath thought to be an earlier fresco by earler (pre-Duccio period) Sienese hands.
The second (Bichi) chapel to right of high altar has two lunette medallions of the Tiburtine and Erythraean sibyls by Luca Signorelli and monochrome frescoes of the Birth of the Virgin and the Nativity by Francesco di Giorgio and collaborators, all painted c.1489/94, found under whitewash during restoration work in the 1970s.
The sacristy chapel has fragments of frescoes of the Infancy of Christ and saints by Paolo di Giovanni Fei from c.1373/75, his earliest known work.

Jacopo della Quercia is said to have been buried here.

Lost art
Two paintings once in the Capella Piccolomini here: one of the many odd versions of the Massacre of the Innocents (1482) by Matteo di Giovanni is now in the Capella della Madonna in the Santa Maria della Scala Ospedale (with fragments of its lunette are in Esztergom and a private collection).
The fine Blessed Agostino Novello and Four of his Miracles (c.1330) by Simone Martini (see right) is now in the Pinacoteca and is one of only three works by him remaining in Siena. It was painted to be placed on the subject's tomb here, hence the unusual polygonal top. The four flanking scenes showing Agostino's healing miracles, with him swooping in to save the victims of accidents, mostly children, are probably the work of assistants.
The Bichi altarpiece, painted to go in the family chapel mentioned above by Luca Signorelli was disassembled and dispersed in the mid 18th century. It was commissioned in memory of Cristoforo Bellandi, the deceased son-in-law of Antonio Bichi. The central wooden statue of Saint Christopher by Francesco di Giorgio is in the Louvre. The large flanking panels depicting Saints Jerome, Catherine of Siena and Mary Magdalen on one side, and Saints Francis, Augustine and Catherine of Alexandria on the other, are now in Toledo and Berlin, with predella panels in Dublin and Scotland.

Opening times
mid-March to end Oct 10.30-1.30 & 3.00-5.30
These are the last times publicised, but I never found the church open on a visit in 2016 and only finally got in during the big Ambrogio Lorenzetti exhibition of 2017/18 when the church was specially opened. The attendant said that when the exhibition finishes the access will return to being very rare.
 









 

SantĺAndrea Apostolo


v


History
Romanesque, founded in 1175, with major 18th century adjustments

Interior
Small and aisleless with a nice mix of rough walls and smooth pilasters and arches. a plain rough apse and a shallow altar niche each side, with frescoes. On the right a Saint Anne with the Madonna and Child, possibly by Martino di Bartolomeo, discovered during restoration in 1959. On the left a more damaged remainder of a representation of architecture with Jesus and Seraphs in the lunette and San Bernardino on the right niche wall. Guidebooks mention a highlight triptych over the high altar of the Coronation of the Virgin with Saints Peter and Andrew (1445) signed by Giovanni di Paolo, but as you can see in my photo it's not there now, or wasn't in September 2016.

 

 

Sant'Ansano
(Cappella delle Carceri di...)


History
One of Siena's patron saints. He's a 3rd century saint, so the legend that he was imprisoned in the tower to the right of this 16th century church, admittedly built on the site of an older church, is hard to accept. The saint is depicted in the stained glass window in the oculus above the door, the high altarpiece of 1617 by Rustichino and in the fresco fragments on the left wall attributed to Priamo della Quercia, the brother of sculptor Jacopo.

Lost art
The famed Annunciation with Saints Ansanus and Massimo of 1333 by Simone Martini and Lippo Memmi, his brother-in-law, painted for the altar of Saint Ansanus in the Duomo, was moved here towards the end of the 16th century when that altar was remodelled. It remained here until went to the Uffizi in 1799.
 

Opening times
Usually closed
 






 






Interior photo from the My Day Worth blog

Sant'Elisabetta della Visitazione

v
History

The original church dates to 1680, but the current church was built in the late 19th century by the Blessed Savina Petrilli for the Order of the Sisters of the Poor of St. Catherine of Siena, which she founded in 1873. Building began in 1884 to neo-renaissance designs by Agenor Socini and was completed in 1901.

Interior
Nave and aisles separated by wide pillared arches supporting a high gallery. Aisle walls utterly plain with altars at the aisle ends flanking a shallow five-sided decorated apse. Modern panels.
The decoration was overseen by Alessandro Franchi, responsible for Saint Joseph on the back wall of the left aisle, the Visitation in the apse and the Stigmata of Saint Catherine of Siena  on the back wall of the right aisle, the latter carried out in collaboration with his wife Luisa Mussini (the daughter of painter Luigi Mussini, who was Franchi's tutor) she being also responsible for the Saint Anthony of Padua in the chapel named for him.
On the altar a Madonna and Child by Luca di TommŔ.
Under the altar are the remains of Savina Petrilli (1851-1923) she being one of the 31 ôsaints, beatified, and servants of Godö controversially mummified between 1975 and 2008. Controversial also for the fact that of the team of the embalmers only one survivor was still alive in 2014 when the issue was reported, the others having died of various tumours and cancers, likely side effects of the toxic chemicals used in their work.

 

 

 

Sant'Antonio da Padova
Sant'Antonio alle Murella
Oratory - via Tommaso Pendola
  Sant'Antonio da Padova
Oratory - via Cecco Angiolieri


History

In the late 17th century locals from the Contrada della Tartuca (Turtle), many of them sculptors and masons, acquired property from the Augustinians.  Construction of an oratory began in 1682, to a Baroque design by Jacomo Franchini. with the church completed in 1685.

Interior
Much work by the Mazzuoli family, and some by the Nasini. Giovanni Antonio Mazzuoli was responsible for the interior sculptural decoration and the main altar with its bas-relief of the Apparition of the Virgin to Saint Anthony of Padua.  The high altarpiece depicts the Miracle of St Anthony restoring an amputated leg. The same miracle is depicted in inlaid marble mosaic in the floor by Leopoldo Maccari (1891).
The cupola is has frescoes depicting Saint Anthony in Glory by Vincenzo Dei. The side altars, built in the late 1700s, are the work of local sculptor Gaspero Fineschi and stucco artist Bernardino Cremoni.
Four oval paintings of 1685-6 - The St Jerome and the Angel is attributed to Giuseppe Nicola Nasini,  the Martyrdom of St Bartholomew is by Antonio Nasini, Saint Sebastian healed by Saint Irene and St Ansano baptizes the First Christians of Siena are by Annibale Mazzuoli.

St Anthony preaches to Fishes (1697) by Annibale Mazzuoli; a stucco bas-relief of The Virgin offers her baby Jesus to St Antonio, by Giovanni Antonio Mazzuoli (1685); a wooden altarpiece with Scenes in the Life of St Anthony by Antonio Manetti and Angelo Barbetti (1831-1832); a Madonna and Child, by Francesco Mazzuoli (1836).

Campanile
Rebuilt in 1800.


History
The Contrada Priora della Civetta (owl) was the last contrada to build its own oratory, they having previously used an altar in the church of San Cristoforo,  just up the street. Built on the site of a shop shop, on the ground floor of a medieval palace, which was bought by the Contrada in 1932. By 1934 the fašade and entrance were finished, and in 1936 the marble altar. Financial problems and the war prevented completion, until the Oratory was finally opened for worship in 1945. Major rebuilding in 1973 when the interior plasterwork was removed, painted in white and dark horizontal stripes in a Sienese style, returning the walls to brick and stone.

Interior
An 18th century painting of Sant'Antonio da Padova by Galgano Perpignani and a 17th century work by Vincenzo Rustici of  the Madonna and Child, San Giovannino and San Carlo Borromeo with San Luigi Gonzaga, given to the Contrada by Count Guido Chigi Saracini.


 

Santa Caterina

 

Santa Caterina
casa e santuario


History
The house where the saint was born, it became a sanctuary devoted to her memory after being bought by the comune in 1466.

Interior
Entrance through a portico of 1941 into a sweet loggia of 1533, possibly by Peruzzi or Giovanni Battista Pelori, a follower. The Oratorio della Cucina is the family kitchen converted into an oratory in the 16th century. It has an altarpiece by Bernardino Fungai. The wooden stalls date from 1518 and 1555, the majolica pavement is from the same century.

Opposite the oratory is the Church of the Crocifisso, built in 1623 to house the (late 12th century Pisan) Crucifix in front of which Saint Catherine received the stigmata in Pisa in 1375. It is kept over the high altar in a cupboard decorated by Il Riccio. In the south transept is an altarpiece by Sebastiano Conca and in the north transept  one by Domenico and Rutilio Manetti. Downstairs is the Camera della Santa, the saint's cell, frescoed in 1896 and containing a small painting of Saint Catherine Receiving the Stigmata by Girolamo di Bemvenuto. Below this is the Oratorio della Tintoria or Santa Caterina in Fontebranda, built in 1465 on the site of a dyer's workshop (tintoria). There's a polychrome wooden statue of the saint by Neroccio di Bartolomeo dei Landi (1475), frescoes of five angels by Sodoma and scenes from the saint's life by Girolamo del Pacchia, Vincenzo Tamagni, Giacomo Pacchiarotti and Ventura Salimbeni.

 

Contrada dell'Oca



 

Santa Lucia
Santi Niccol˛ e Lucia

v
History
Renovated in 16th and 17th centuries

Interior
Small, pale baroque and aisleless with a pair of side chapels. On the left one a carved Crucifix with painted staffage. On the right 18th century stucco angels and putti surround an old icon-like painting of a crowned Madonna.
The barrel vaulted ceiling and lunettes over side chapels are frescoed, with a trompe l'oeil dome in the centre.
These 17th century vault frescoes are the work of Sebastiano Foli and Francesco Bertini.
There's a Baroque organ gallery over the entrance.
Shallow baroquely gilded rectangular apse with grills either side and a high altarpiece of the Martyrdom of St Lucy by Francesco Vanni of 1606.
Flanking the presbytery are 15th century polychrome statues - Saint Lucy attributed to Francesco di Giorgio Martini and Saint Nicholas by a follower of Giovanni di Stefano.

The high altarpiece depicts a female Saint (Lucy?) about to be...? and receiving communion?


 

Santa Maria dei Servi

v
History
The huge brick church of the Servites, begun in the 13th century but enlarged over the next two centuries and so not finished and consecrated until 1533. The 15th century fašade remains unfinished. Suffered harsh restoration in 1925.

Interior
The interior, remodelled during the Renaissance, is plain and fine, though marred by 19th century restoration. There are five deep bays with altars in each aisle.
The first on the right is a small enclosed chapel with Anonymous 14th century fresco fragments on the outside wall of The Last Judgement and Mary freeing souls from purgatory.
Over the first main altar on the right is the very Byzantine highlight Madonna and Child with Two Angels (the Madonna di Bordone) (see right) of 1261 by Coppo di Marcovaldo, a Florentine artist captured at the battle of Montaperti in 1260 and probably made to paint this picture to earn his freedom. It's his first known major work and the only one safely attributable, having been signed and dated. The heads had their detailing softened and made more Ducciesque by a local artist, a pupil of Duccio, a couple of decades later, a fact revealed by x-radiography. It is flanked by Santa Caterina and San Rocco panels by Arcangelo Salimbeni from the later 16th century.
The last altar on the right has an impressive and gilding-detailed Massacre of the Innocents of 1491 by Matteo di Giovanni, who somewhat specialised in this with two more versions by him in Siena, one being a marble pavement panel in the Duomo, and another in Naples. It features his perverse taste for stabby and creepy details.
The end of this transept arm has a painted 14th century Crucifix, by Niccol˛ di Segna. Underneath is an altar with the remains of the Blessed Francesco Patrizi, a well-loved Sienese Servite known locally as Francesco Tarlato (worm-eaten Francesco) due to the state of his remains. Over the door to the left is a small Madonna and Child by Segna di Bonaventura, a nephew of Duccio and the father of the Niccol˛ mentioned above.
The Massacre of the Innocents fresco on the right wall of the far right chapel in the deep transept is by Pietro Lorenzetti, and Niccol˛ and Francesco di Segna.
The chapel nearest the apse has a turn of the 20th century gold-ground triptych by Alexander Franchi.
The high altarpiece is a wide panel depicting The Coronation of the Virgin by Bernardino Fungai from 1501.

The first chapel left of apse has some anonymous fresco fragments, but the last one has an impressive collection of big damaged 14th century frescoes by Pietro Lorenzetti, and others. They depict the Banquet of Herod and Death of John the Baptist. Also a Nativity, a bit of a polyptych by Taddeo di Bartolo (a follower of Lorenzetti).
The left transept end chapel has a Madonna del Misericordia altarpiece in watercolour, signed and dated 1431 by Giovanni di Paolo, a pupil of Taddeo di Bartolo. The leader of the monks sheltered by the Virgin's cloak on one side is Filippo Benizzi, a Servite general whose life is illustrated by Andrea del Sarto in the Chiostrino dei Voti in Santissima Annunziata in Florence.
Coming back up the left aisle, second altar from the back has a small panel of the Madonna del Belvedere a rare work by Jacopo di Mino del Pelliciaio, a pupil of Lippo Memmi, flanked by Saint Joseph and Mary Magdalen by Bernadino Fungai, also responsible for the high altarpiece here. The first chapel has a bright Annunciation by Francesco Vanni.

(frescoes in the Spinelli chapel by Niccol˛ di Segna?)


Lost art

A very sweet panel of the Madonna and Child Enthroned with Four Angels of 1470 is all that remains of an altarpiece commissioned by the Della Ciaia family for their altar here) by Matteo di Giovanni (see right) is in the Pinacoteca.
A Virgin and Child, known as the Madonna del Popolo, signed by Lippo Memmi, (late 1320s) although its high quality points to involvement by Simone Martini, his brother-in-law. It is now in the Pinacoteca.

Campanile
Massive, brick, 14th century, restored in 1926.
 






 

Santa Maria della Scala Ospedale


History
The earliest documents mentioning a pilgrim's hospice here, attached to the duomo,  date to the 11th century, with the current building dating from the 12th. It's management became more secular over time and broadened its remit to include the poor, the infirm, the sick and foundlings, called getatelli or little throwaways. With the suppressions of the 18th century Santa Maria dell Scalla became a hospital in the modern sense of the word - a place of medical care, which it remained until 1975.

Interior
The ticket office and bookshop to the left of the fašade are in what was the Chapel of the Women's Wing, which is still a vaulted space with frescoed scenes of the Passion of Christ from the 15th century. There are also traces of a Madonna of Mercy and a Holy Trinity with a kneeling nun, possibly the donor.
You will be given a map, but note that the floor where you begin is the fourth. The first space you enter, to the right of the ticket desk, is the
Capella del Manto. Named for the fresco of The Madonna della Misericordia which has been in the Capella del Sacro Chiodo (see below) since the early 17th century. This chapel was built in the 14th century and originally called the Chapel of the Relics, for the collection of relics, including a nail from the Crucifixion, bought at vast expense in Constantinople. The fresco decoration here on the arches and vaults is 14th century, with a lunette fresco of The Meeting of Anna and  Joachim at the Golden Gate (1512) by Domenico Beccafumi from 1512. During Santa Maria della Scala's time as a hospital this chapel was used as the A&E department.
Into the passagio, the rooms on the right have changing displays. To the left you enter the
Sala del Pellegrinaio with walls covered with frescoes by Domenico di Bartolo, Priamo della Quercia (brother of Jacopo) and Vecchietta of episodes of the founding and work of the hospital, painted from 1441 to 1443. This room has ever been the centre of the complex, first as a reception room and later as a hospital ward, which it remained until the 1970s.
The
Sagrestia Vecchia (see right) is further along to the left. It's also known as the Capella del Sacro Chiodo, because it once housed a nail (chiodo) used for Christ's crucifixion. This may have suggested the subject of Vecchietta's now very fragmentary, but impressive, frescoes here of 1446-9, which depict the Articles of the Apostle's Creed, painted after his work in the Sala del Pellegrinaio mentioned above. This is not the easiest of subjects to interpret without captions, and one unusually centred on Christ himself, rather than his mother, or the city itself, which are the more usual subjects for such cycles in Siena. The 1444 high altarpiece by Domenico di Bartolo here being more typical, as it depicts the Madonna della Misericordia, with Sienese citizens protected under her cloak. This is the fresco originally in the Cappella del Manto mentioned above. It was detached and moved here in 1610, minus its two ends which were removed so it would fit the altar here. These fragments were reattached in 1969 and the sinopia (underdrawing) of the main panel is displayed nearby.
You then pass through the baroque
Capella della Madonna, built at the end of the 17th century with funds provided by one of the hospital's nuns, Elisabetta Biagini, with stucco work and canvases by Francesco Nasini. It also contains an odd and disturbing Massacre of the Innocents of 1482 (see right) by Matteo di Giovanni (his speciality - see Santa Maria dei Servi) which has smiling children looking on the carnage from windows. It was originally in Sant'Agostino.
And then it's on into into the suddenly enormous space of
Santissima Annunziata (see right). Its fašade faces the Duomo's, so the church of the Annunciation faces the church of the Assumption. It was rebuilt in the late 15th century and is boxy and a bit characterless but with an impressive huge apse-filling fresco depicting the Healing of the Cripple at the Pool of Bethesda, an appropriate subject, painted by Sebastiano Conca in 1730. It replaced/destroyed the fresco of the Coronation of the Virgin by Francesco di Giorgio Martini. There's also a Vecchietta statue of The Risen Christ (1476) topping the high altar. The statue was part of his tomb in a chapel dedicated to the Saviour that he designed for his own burial, which was demolished during 17th century building work. He also painted a large altarpiece for the chapel, of The Virgin and Child with Saints Peter, Paul, Lawrence and Francis, now in the Pinacoteca. Frescoes by him had covered the walls before the rebuilding, but his work in the Capella del Sacro Chiodo is now all that remains. A Virgin and Child by Paolo di Giovanni Fei?  The coffered ceiling is the work of Francesco di Giorgio and painter Lotto di Domenico. The altars are 17th-century.
Downstairs on level 3 a stripy and windowless pair of rooms lead to the baroque and windowless Oratorio di Santa Caterina della Notte (see below right) stucco-decorated in the 18th century, with two more rooms beyond, the last of which, the sacristy, has a sudden triptych of The Madonna and Child with four angels and Saints John the Baptist and Andrew of c.1400 by Taddeo di Bartolo.  A panel of the Lamentation in the I Tatti collection, is very likely from this work's predella. The triptych was painted for the Compagnia di San Michele Arcangelo, a charitable group of flagellants who changed their name to Saint Catherine of the Night to celebrate the fact that Saint Catherine of Siena would rest here between caring for the sick. There's also an 18th century statue of her sleeping here.
Also on this floor is a vast space devoted to Jacopo delle Quercia's Fonte Gaia, with eroded original bits and plaster reconstructions.
There's also
The Treasury, a sequence of confusing storerooms and crannies full of reliquaries (for the relics mentioned in the entry for the Capella del Manto above) that is weirdly lit and like a rough brick fairground attraction, made all the more unnerving by bits of modern art, and by my being mostly alone.
The next floor down (the Second Subterranean Level) has an oratory, revealed mid-14th century frescos depicting the life of hermit monks, a covered road, and an archaeological museum full of Etruscan stuff, but I was too tired and confused to do them justice. Only later did I discover that there is a Charnel House and the Wash House of the Wet Nurses to visit down here too.

Lost art
The Virgin and Child with Saints Agnese, John the Evangelist, John the Baptist and Mary Magdelene, a polyptych by Duccio, is in the Pinacoteca.
A very influential cycle of frescoes of the Life of the Virgin was painted on the fašade of Santa Maria della Scala in 1335. Both Ghiberti and Vasari describe the frescoes, with Ghiberti the most reliable for having seen them himself. He says that Pietro Lorenzetti painted the Nativity of the Virgin, and that his brother Ambrogio contributed The Birth of the Virgin and The Presentation at the Temple. Simone Martini painted The Marriage of the Virgin and, as Ghiberti puts it, a scene where 'she was visited by many women and virgins'. All are now lost - destroyed in the 18th century after a protecting canopy was removed in 1720. See right for an artist's  reconstruction. A triptych by Ambrogio Lorenzetti, consisting of The 'Little' Maesta in the Pinacoteca and fragments showing Saint Nicholas of Bari Giving Alms, in the Louvre, and Saint Martin and the Poor Man, in the Yale Art Gallery.
A gradual (cod.98.4) made for the Ospedale in 1344/45, with five mostly Maryan miniatures by Lippo Vanni, is now in the Duomo Museo. See right for one showing the Birth of the Virgin.
Giovanni di Paolo painted much for the hospital from the 1440s, including altarpieces, banners and designs for the embroidery of vestments. All that remains of these projects is the vivid altarpiece of The Presentation at the Temple, now in the Pinacoteca, painted for the guild of Pizzicaiuoli (grocers) and installed in 1449.
The reliquary cabinet doors painted by Vecchietta (with help from Pietro di Giovanni d'Ambrogio) in 1445/49 for the large sacristy here, with twelve Sienese saints and blesseds on the outer surfaces and scenes from The Passion of Christ inside, is now in the Pinacoteca, as is a panel he painted for his tomb, depicting the Virgin and Child with Saints Peter, Paul, Lawrence and Francis. His bronze ciborium, made for the high altar of the church of Santissima Annunziata here is now over the high alter of the Duomo.
An Assumption panel by Ugolino Lorenzetti (an invented name for an unknown artist midway between the styles of Ugolino da Nerio and the Lorenzetti) is in the Pinacoteca. As is a Crucifix by Taddeo di Bartolo and a Presentation by Giovanni di Paolo. Also some fresco fragments (including a sinopia) by Domenico di Bartolo and panels from the doors of a reliquary cabinet by Lorenzo di Pietro (Il Vecchietta).

Guide book
The Hospital of Santa Maria della Scala - a visitor's guide by Ilaria Bichi Ruspoli (trans. Anna Piperato) (2016) is excellent - well-designed, clearly-written and translated, and interesting.
 










A reconstruction of the fašade by Roberto Parenti, from Barzanti's  Storia di Siena.

Santa Maria delle Nevi
oratory


History
Built from from 1470-1472 for Giovanni Cinughi, the first Bishop of Pienza, whose coat of arms can be seen on the fašade, possibly to a design by Francesco di Giorgio, possibly carried out by his pupil Bastiano di Corso. a Sienese-born architect, painter, sculptor and civil and military engineer. The church has been 'temporarily' closed for restoration for many years

Interior
Ironically the pavement of 1685 in the centre of the nave bears the arms of the Medici, Siena's and Tuscany's eventual rulers. Halfway down right wall is the Messa di San Cerbone of 1630 by Rutilo Manetti.

Lost art
The high altarpiece, echoed in the curves of the church's vaulting, was the Madonna della Neve of 1477 by Matteo di Giovanni (now in the Pinacoteca) (see left) commissioned by the Cinughi's heirs. It features cherubs making snowballs and angels with bowls and amphorae of snow. It was originally in the (now demolished) monastery of Sant'Egidio. The legend of the origins of Santa Maria Maggiore in Rome is depicted in the predella - a miraculous fall of snow marked the outline of the church.

 


A photo taken around 1880 (Alinari)

Santa Maria in Portico a Fontegiusta


History
Built 1482/84 to Renaissance-style designs by Francesco di Cristoforo Fedeli from Como to celebrate the victory of Siena over the Florentines in the Battle of Poggio Imperiale fought in Poggibonsi on September 7, 1479. The former Porta de Pescaja, also known as Porta Fontegiusta, was a city gate, sited where the apse is now. It was walled up as Siena tried to limit access to the city during times of conflict.

Fašade
The facade remains brick. The doorway (1489) is the work of Urbano di Cortona, with a bas-relief of the Madonna and Child with Angels above attributed to Giovanni di Stefano.

Interior
Almost square, as space was limited, what with the church being built up against the city wall. A nave and two aisles, divided into vaulted squares.
On the left wall is a fresco of The Sibyl Announcing the Birth of Christ to the Emperor Augustus once attributed to architect Baldassare Peruzzi (who lived nearby), but now thought to be a work of Daniele da Volterra, or both of them.
The marble high altar (1509-17) is attributed to Lorenzo di Mariano, called il Marrina. In the tabernacle is the miracle-working Madonna di Fontegiusta by Lippo Vanni, originally part of a fresco from the portico of the customs house. The large lunette fresco above of The Assumption (1515) is by Girolamo di Benvenuto, with side frescoes depicting the Birth of the Virgin, Annunciation and The Madonna in Glory (1600) by Ventura Salimbeni.
To the right of the altar is a painting of The Blessed Ambrogio Sansedoni asking protection of the city of Siena from the Virgin (1590), by Francesco Vanni. On the right is a Coronation of the Virgin with Four Saints altarpiece by Bernardino Fungai (1508-1512).
The sacristy has a small museum dedicated to memorabilia (including a whalebone) said to have belonged to Christopher Columbus while he was, possibly, a student at the University of Siena.

Opening times
every morning from Monday to Saturday.

Interior photo above from the My Day Worth blog
 

Santa Maria di Provenzano

 

Santa Maria Maddalena
(Castiglione d'Orcia)


History

Built from 1595 and consecrated in 1611, with rare-for-Siena ornate  baroque fašade of 1604, to designs by Flaminio del Turco, which were said to have been based on counter-reformation principles. The dome was designed by Don Giovanni de' Medici, the illegitimate son of Cosimo I

 

Interior
17th century altarpieces by Bernardino Mei (west wall) and Rutilio Manetti (first south altar).

Flaminio del Turco is also credited with the design of the high altar on which the famed 15th century miraculous terracotta Madonna del Provenzano sits. Its power is said to derive from it having been on the facade of the home of Provenzano Salviani, or at least a house nearby. He being the leader of the Sienese army at its famous victory of Florence at the Battle of Montaperti in 1260. The miracle took place on the 2nd of July 1594 when the bust is said to have cured a man with diseased limbs and/or 'defended itself from the insults of a soldier'. Other reports say that the bust was destroyed and the (occupying Spanish) soldier responsible then repented, or died. The faithful remain unperturbed by it having been dated to two hundred years after the battle. The second Palio, held on July 1st, has been run in the statue's honour since 1656.
 


History
The complex passed to the nuns of Maddalena in 1539 who rebuilt, entrusting the work on the church to Antonio Maria Lari, called Tozzo. Much rebuilding over the centuries with the interior completely redone between 1715 and 1729 with late baroque stucco work. The  neoclassical
fašade was built in 1839 to a design by the wonderfully-named Sienese architect Agostino Fantastici (Augustine Fantastic) who also worked on Sant'Agostino, Santa Marta and San Giuseppe, all nearby.

Interior
The high altarpiece is Saint Mary Magdalene listening to the preaching of Christ of Raffaello Vanni. On side altars there are two paintings by Antonio Bonfigli from 1729 depicting the Martyrdom of St Catherine of Alexandria and the Madonna with Child and Saints.

Lost art
A damaged small triptych of the Madonna and Child by the Master of the Osservanza (
Sano di Pietro?) is in the Pinacoteca. Also a Madonna of the Goldfinch by Sano di Pietro.

85622222

Santa Marta
via San Marco


History

The convent was founded in 1329 by Milla Pannocchieschi d'Elci a noblewoman who, when widowed, decided to build a convent dedicated to Santa Marta following the rule of St. Augustine. Initially for widows only, then virgins. Milla died in 1348 but her family retained control of the convent. Suppressed in 1810 by Napoleon the convent became a prison and then, briefly, housed the mentally ill before they were transferred to the Asylum of Saint Nicholas. In 1814 the complex became an orphanage and remained so until 1975 when it became a college. It passed to the City of Siena in 1983 and in 1986 restoration work began. Now houses the Istituto Storico della Resistenza Senese e dellĺEtÓ Contemporanea archive and accommodation for rent.

Interior
The church choir has 14th century frescoes including the Burial of Saint Martha by Matteo Giovannetti. There are also 14th/15th century monochrome fresco fragments in the cloister (see below) depicting the Life of Saint Jerome and the reclusive life generally. The refectory has a large fresco of 1522 of the Last Supper (found in 2004 under whitewash) by Giacomo Paccharotti, a colleague of Pintoricchio.

Lost art
Two panels from a polyptych by Ambrogio Lorenzetti, depicting Saints Paul and John the Baptist, are in the Pinacoteca. As is a sweetly impressive panel of Scenes from the New Testament (see right) by Niccol˛ di Bonaccorso.


 

 

 

Santa Teresa   Santi Pietro e Paolo
via san marco


History
Oratory within the Institute of Santa Teresa complex commissioned by Monsignor Leopoldo Bufalini as a school for girls. Built in Neo-Renaissance style 1877-1885 to designs by Giuseppe Partini.

Interior
The oratory has a wooden ceiling carved by Giorgio Badini. The high altarpiece is the Transverberation of St Teresa of ┴vila of 1875 by Alessandro Franchi. The altar was sculpted by Leopoldo Maccaro. The ceiling has St Simon Stock Receives the Carmelite Habit from the Virgin also by Franchi (1884).
Other canvases include the Prophets Elias and Eliseo, St Girolamo Emiliani, and a Santa Cecilia by Riccardo Meacci. Franchi also painted a Madonna del Carmine with Saints Agnes and Louis; Gaetano Marinelli (1835-1924) painted Saints Joseph, Bernardino, and Catherine; Giuseppe Catani painted a Santa Caterina delle Ruote; and Leone Leoncini painted St Vincent of Paul and St Thomas Aquinas and St Giuseppe Calasanzio.
 


History

Originally a monastery which moved here in 1361, after the plague. This original church, dedicated to San Paolo became too small and work on a new church begun in 1622 to designs of Flaminio del Turco. The brick fašade, the work of Niccol˛ Franchini, was completed in 1678,  The cupola, supported with an octagonal tambor, was completed in 1645, with the lantern reconstructed in Neoclassical style in 1818 by Agostino Fantastici after an earthquake in 1798 destroyed the previous one. When the monastery was suppressed by Napoleon the Contrada della Chiocciola moved here from the Chapel of the Madonna del Rosario nearby,  along with the art and fittings from that oratory. The church was then dedicated to Santi Pietro e Paolo.

Interior
The interior has stucco decoration (1711) by Giovanni Antonio Mazzuoli. The high altarpiece is the Coronation of the Virgin with Saints (1520) by Andrea and Raffaello del Brescianino. Another altarpiece depicts the Death of St Paul by Astolfo Petrazzi. On the altar of the Rosary is a 15th-century Madonna and Child. The crypt features a display of Palio victories.
 

Santi Quirico (e Giulitta)

 

Santi Vincenzo e Anastasio


History

One of Siena's oldest, built on the site of a pagan temple. 17th century but with 13th century remainders, including the fine Romanesque portal. Contains paintings by Ventura Salimbeni and Francesco Vanni.


History

Said to date from 1144. Renovated in the 18th century. Was the parish church until suppression in 1782 by Grand Duke Leopold of Tuscany and in 1788 it transferred Istrice contrada. The painter Pintoricchio was buried here in 1513 - there's a small niche with a bronze bust on the right wall.

Interior
Plain fašade, baroque interior with a single nave and five bays. On left wall is a Madonna and Child with Saints Bernardino and Jerome by Sano di Pietro. Over the high altar is an 18th century wooden tabernacle with angels, behind which there are 18th century monochrome frescoes by Carlo Amidei. Contains much 18th century art, but also an anonymous fresco of Christ Pantocrator detached from the fašade which is early13th century and possibly the oldest painting in Siena. And maybe no longer to be found here.

Campanile
Neo-gothic, rebuilt in 1871 as the original one had been damaged by an earthquake in 1869 .

Istrice (Porcupine) contrada

Santo Spirito

 

Santo Stefano alla Lizza



History
Rebuilt late 15th/early 16th century after being acquired by Observant Dominicans, financed by Pandolfo Petrucci.

Interior
Inside is a polychrome terracotta Nativity by Ambrogio della Robbia, a Dominican from the famous family.
First chapel on right entirely decorated by Sodama in 1520, including a Saint Jacob Defeating the Moors, a very Spanish subject in a chapel commissioned by Spaniards.
Further down on right, the chapel before the high altar has San Giacinto in Glory in the vault by Francesco Vanni, with the saint's life depicted by Ventura Salimbeni on the walls. The Borghesi altarpiece by Giacomo Pacchiarotti of 1505, although the predella is in the Pinacoteca.
 

History

Founded in the 12th century and rebuilt baroquely in 1675. Formerly falling into dereliction, the church is now used for opera performances.

Lost art
Housed the Madonna and Child with Saints (including Saint Stephen looking even more like Mickey Mouse than usual) (1400) by Andrea Vanni (with a predella by Giovanni di Paolo of six scenes from the Life of St Stephen with a central Crucifixion with Saints Jerome and Bernard) which is now in the Duomo Baptistery. As is a Visitation by Rutilio Manetti formerly on the the right hand altar here.

Santuccio

 

History
Founded  by Augustinian nuns in 1362 and rebuilt in the 16th century, this is the only substantial remaining part of the the adjacent convent of Santa Maria degli Angeli.

The fašade is by Annibale Bichi, the benefactor. The interior houses an altarpiece of the Madonna and Child with Saints begun by Francesco Vanni in 1610, the year of his death, continued by Ventura Salimbeni, his half-brother, who died in 1613, and completed by Sebastiano Folli in 1614. The frescos on the side walls are by Ventura Salimbeni, and depict episodes in The Life of Saint Galgano, a local saint whose head the nuns once proudly owned. His cloak is said to be here too.
   

Lost

San Maurizio
Samoreci

 

Santa Chiara
via Santa Chiara

History
A church first documented in April 1064, with the church name vulgarised as Sant'Amorici. A parish church through the Middle Ages, it was deconsecrated in 1785, sold to a cooper and used as a warehouse. Only the fašade, with the pillared doorway and a rose window, remains as the side of a house.

Lost art
The Mannelli chapel had an altarpiece painted by Paolo di Giovanni Fei in 1391, pieces of which, depicting Saint James Major, Saint John the Baptist, and Saint Mauritius, are now in the Pinacoteca. Also by him and in the Pinacoteca, a Birth of the Virgin of around the same date, and clearly influenced by Pietro Lorenzetti's version of the same scene now in the Duomo museum.
A high altarpiece from the mid-1340s by Niccol˛ di Segna. The central panel, of the Virgin and Child, is in the I Tatti collection. The four main lateral panels are in Baltimore (Saint Lucy), Atlanta (Saints Maurice and Catherine) and the Pinacoteca (Saint Bartholomew). Smaller panels from the clerestory level are widely dispersed, the pinnacles and predella panels are lost or unidentified.
A Master of the Osservanza/Sano di Pietro triptych of the Virgin and Child with Saints Ambrose and Jerome (see right) dated 1436 and commissioned by merchant Manno di Orlando for his chapel here, is now in the Osservanza. (Also Pinacoteca 230)
 

Sant'Egidio
Giovanni di Paolo was buried here in the chapel of Saint John the Baptist in 1482.

 


History

The monastic complex founded here by the Vallombrosans at the end of the 12th century, was already crumbling by1490. After the siege of 1555 Clarissan Franciscan nuns were forced to leave their then home outside the Roman gate, occupied by the Spanish/Florentine troops, and on March 29, 1556 the abbot of San Giacomo and Filippo (as this complex was then called) was instructed to leave the monastery so that
the nuns could move here. But the first stone of the rebuilding was not laid until September 17th 1577 with the nuns finally moving in on 28 October 1596, with the complex then taking the name of Santa Chiara. They remained until 22 July 1818 when the complex passed to Olivetan monks and was renamed the Ospizio di San Benedetto in Santa Chiara .
The Olivetans left the ospizio on the 7th of July 1866, when the monastery was suppressed. After a failed project to turn the complex into prison, by 1872 it had been adapted to house a military barracks. Very little remains, apart from the cloister, the church having been mined by the retreating Germans on 2 July 1944 and almost completely destroyed; but for two walls on which there's a plaque.


Lost art

An early 13th century Sienese Crucifix (with a still very triumphant Christ) is in the Pinacoteca.
An Enthroned Christ with the Virgin by Rinaldo da Siena, a recently-identified contemporary of Guido da Siena. He was formerly, and sometimes still is, known as the Master of the Clarisse.
The Breviarium fratrum minorum  (Cod. X.IV.2) a manuscript in the Siena Biblioteca Comunale of c.1430/40, has a calendar by Sano di Pietro.

A postcard from the 1920s


 

 

 

 

 

 

 

 

 


 

The Santa Chiara complex on Francesco Vanni's map of 1595.

 

 

Santa Petronilla


 


History
Originally the church of the Umiliati on a different site from the current church of the same name, beyond Porta Camollia.
Lost art
A Saint John the Baptist Enthroned, with 12 scenes from his life, by a 13th century Sienese master is in the Pinacoteca.
As is a triptych of the Madonna and Child with (half-length) Saints Mary Magdalene and Martha, (c.1342-4) quite a late work by Ambrogio Lorenzetti with arguable amounts of studio involvement. There's also a predella panel of The Lamentation and two further side panels depicting Saints John the Baptist and John the Evangelist. Scholarship has yet to settle on these panels being part of the same polyptych and the church they were painted for, and the  catalogue of the big Ambrogio Lorenzetti exhibition in Siena in 2017/18 adds a couple of smaller half-length saints, Massimino (a bishop) and Saint Anthony Abbot (see below).
The exhibition caption said 'From the now destroyed convent of Santa Maria Maddalena outside the Porta Tufi gate in Siena?'
Also a Polyptych of the Assumption by Sano di Pietro.



 

fisiocriti 07 P1040940 - mystery


 

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